November 2016 Vol

SEATTLE RECORDER SOCIETY

Recorder Notes

November 2016 Vol. XLVIII, No. 3

www.seattle-recorder.org

From the Music Director (Vicki Boeckman) Greetings, One and All, SRS Meeting

My goodness, what a whirlwind this past Friday, month has been—literally! Hopefully you didn't suffer any hardships in the recent storm with power November 4th, 2016 outages or property damage. I, for one, was—and @ 7:30 pm still am—very grateful that the strength of the storm did not live up to the predicted expectations. I love our trees and our little plot of earth and our house and all the things in it, especially my recorders! Opening Program David Ohannesian Speaking of recorders, I continue to be delighted and encouraged (Tone production) by the glorious sounds emanating from our playing sessions. Even more encouraging for me is the visceral excitement, joy, and pride that seems to be spreading as we create it together. So the music I've chosen for our upcoming November session will be music that seeks to further these Playing Session aspects. While listening to the Flûtes en Bois ensemble play Thomas Tallis’ (Vicki Boeckman) “The Town Lay Hushed,” all I could think of was how lovely it would sound on recorders, so I asked their engraver “Coop” if he would send me his files, Tallis, Byrd, and Blaker and— kind, generous soul that he is—he promptly did. So we will start with Tallis’ “The Town Lay Hushed” in Coop's lovely, bar-less edition. One can hardly play Tallis without a nod to William Byrd, so we will then play one of All sizes of recorders my favorite pieces by Byrd, the 5-part “Lulla Lullaby,” or “Lullaby my sweet are needed, and viols and little baby” from the 1588 collection of Psalmes, Sonets and Songs. After the other soft winds/reeds fantastic reception of Frances Blaker's “In Sight of the Ocean” last month, I'd are always welcome. like to play another one of her hauntingly beautiful, compelling pieces written over a ground bass, “Upwelling.” Upwelling is an oceanographic phenomenon that involves wind-driven motion of dense, cooler, and usually Backroom Gang nutrient-rich water towards the ocean surface, replacing the warmer, usually nutrient-depleted surface water. (“Upwelling,” Wikipedia) (Laura Faber) Music will be provided. I look forward to another evening of lovely music making. As always, feel free to contact me ([email protected]) with any thoughts, comments, or musical requests that you may have, or if you would like a pdf file of the music we will play. Please specify for what size instrument. (continued below)

From the Music Director (continued) Recorder Classes (Laura Faber) For our opening program, recorder maker/arborist/ photographer/coffee roaster/collector of rare and marvelous items/all Note: New players are around nice guy David Ohannesian will be doing a demonstration on tone welcome at any time. production and what a player can do to get the best sound out of an Contact Laura to get started. instrument. David and I had several email correspondences about this last year which I will share here. He wrote, “I’ve had all these little bits and pieces of ways to approach tone production floating around in my head for Beginning Ensemble many decades, and I thought maybe other people might be interested to Tuesdays – 10 to 11:30 am listen to them. I may mention some aspects of voicing in passing, but I’m more interested in what a player can do to get the best sound out of an Lower Intermediate Ensemble instrument.” This comes at a very opportune time on the heels of Anne Tuesdays – 7 to 9 pm Timberlake's comprehensive article on tuning (see the following pages). I am excited to hear David's presentation and eager to put theory into Intermediate Ensemble practice during our subsequent playing session! Thurs. – 10:30 am to 12:30 pm

Laura Faber will be leading the Backroom Gang for anyone who Bass Ensemble prefers a smaller group or needs to brush off the dust and rust of distant Saturdays – 10 am to 12 pm past recorder techniques. * * *

Class Descriptions

Save the Dates: Port Townsend Workshop! Beginning Ensemble (SATB) Simple and fun music chosen for Save the dates for the Port Townsend Early Music Workshop— players who are new to a week-long workshop in the Pacific Northwest with a stellar faculty! recorders, adding a new size instrument, or needing a little more support. When: July 9-15, 2017 Intermediate Ensemble Where: The beautiful campus of University of Puget Sound(UPS) in Tacoma (SATBGB) Medieval to modern music for Recorder/Flute/Early Winds: players comfortable with Adam Gilbert, Alison Melville, Clea Galhano common fingerings and Miyo Aoki, Nina Stern, Paul Leenhouts rhythms who are interested in Peter Seibert, Rotem Gilbert, Vicki Boeckman developing their technique further. Skills in progress Voices/Viols/Mixed Consorts: include playing both F and C Jack Ashworth, Joanna Blendulf instruments, reading alto up, Wendy Gillespie, Ellen Seibert counting halves, and reading from parts.

Bass Ensemble (BGB) Seattle Recorder Soirée — Ongoing Enjoy the sound of low instruments? This energetic ensemble plays music arranged First Tuesdays of Every Month or composed for basses and 7:30 pm to 9:00 pm explores bass technique. Couth Buzzard Books & Café Buono 8310 Greenwood Ave N, Seattle, WA 98103 * * * (206) 436-2960, www.buonobuzzard.com FREE !!! Donations and purchases appreciated. People who are interested should contact Laura by email at • Contact: Chris Corfman at [email protected] or (206) 227-5619. [email protected] or by calling (206) 619-0671. 1

The Devil’s in the Details: Tuning Tips from Recorder Professional Anne Timberlake (From the ARS e-mag NOVA; October 2016)

One of the questions I'm asked most frequently as a teacher is how to play in tune on the recorder.

There is, unfortunately, no magic tuning fork. The recorder may be relatively easy to pick up and make noise on, but as many have discovered, it's an instrumental honey trap, keeping its difficulties in reserve until you're hooked!

It is absolutely possible to play in tune on the recorder, and some intelligent work can help you move closer to your goal.

Change your mindset The ability to play in tune is a skill. It is not a talent, something a person possesses or not. Nor is it a discrete piece of knowledge that can be absorbed and implemented in one go. Whether or not you can play in tune does not speak to your musicianship, intelligence, or value as a person. Be kind to yourself, and to others! Anne Timberlake

Skills require practice, but are ultimately accessible to everyone. It is true that, due to innate predisposition or prior experience, some of us pick up particular skills more quickly than others. But with focused practice over time, anyone can improve a skill. Viewing tuning as a learnable skill, just like moving your fingers between notes, is the first step to playing better in tune.

Improve your tone Recorders are designed to play in tune when they're being blown correctly. If you're not producing a clear, open, resonant, and steady tone on the recorder, there's a very small chance that you're playing in tune. In contrast, if you are breathing efficiently and producing an excellent tone, you've fought at least half the battle already.

Tone is among the trickiest things to improve on the recorder. The best way to improve your tone is to work with a teacher—learning to blow and breathe properly is a complex process that benefits from expert advice and consistent feedback. You can find a teacher on the American Recorder Society website. If you don't have access to a teacher, the ARS website has a series of instructional videos by recorder professional Vicki Boeckman.

Learn your instrument The recorder is a sensitive—and particular!—instrument. Every recorder is different, and each note on the recorder wants to be blown in a specific way. Spend time with each of your recorders, learning their tendencies. Is your recorder particularly sharp? Is this particular note unusually low? A tuner with a needle can be useful for this task.

If the recorder is generally out of tune, it can be “pulled out” or “pushed in.” In other words, the head joint can be slightly pulled away from the body, lengthening the instrument and lowering its pitch, or pushed back in, raising its pitch back up. Make sure your recorder is warmed up before you assess its tuning, since a warm recorder will be a different pitch than a cold one. And make sure you don't pull out very far—more than a few millimeters and you will have disrupted the relationships between individual notes.

Photo by Jennifer Carpenter 2

The Devil’s in the Details (continued)

Step away from the needle Tuning comprises two separate, yet interlocking, skills: the ability to hear whether something is in tune, and the ability to adjust your playing according to what you hear.

A tuner that provides you with visual feedback, like a needle or lights, is very useful when you're working on the first of these skills. But many people still rely on the needle when it comes time to practice adjusting their own tuning. This is a mistake. You don't need to learn how to adjust your tuning to visual feedback. You need to learn to adjust to a note you hear, whether that note be in tune, sharp, or flat.

Instead of the needle, use a drone. Most good tuners or tuning apps have a drone function, the ability to produce a sustained note. Practice playing along with the drone. Can you hear when you are sharp or flat? If not, use the needle as a spot checker to help you learn to hear what it sounds like when you're in tune— or not—with the drone.

Once you can hear if you're off, practice beginning your note deliberately sharp or flat -- and then adjusting to match your pitch to the drone. Practice intervals—thirds and fifths, particularly, so you can hear what good intervals sound like. Practice matching pitches in the same octave, as well as the octaves above and below you. If you have a tuner that offers different temperaments, use the opportunity to practice tuning to slightly different pitches.

You can use a physical tuner, an app, or even a CD. I use a Korg OT-120—it's on the bulkier side, but produces a nice, loud drone in various temperaments. Clear Tune and other tuning apps offer drones and even more temperament flexibility, though sometimes a drone from a phone can be a little soft for initial practice. My colleague Jody Miller, who directs Lauda Musicam in Atlanta, asks his ensemble members to work with a product called Tuning CD. (I've never used it, but I've met a number of Atlanta recorder players who play remarkably well in tune!)

Photo by Jennifer Carpenter Trust If you've put in sufficient time with your instrument and a drone, you've likely developed a subconscious feel for playing in tune. Often, your subconscious tuning-master is faster and more accurate than your conscious brain. Try “hearing” a note in your head before you play it: Ten to one, that note will be better in tune than if you'd approached it with no forethought.

Verify Our hearing changes as we age. This is particularly true of our high frequency hearing, the kind that allows us to hear some of the overtones that tell us whether or not we're in tune. If you know your ear for tuning is no longer as reliable as it once was, or if you are in the learning stages and feel you could use the extra help, one way to keep playing pleasurable is to make an arrangement with a buddy, someone who can tell you if, in ensemble, you need to adjust your pitch. Formalizing this relationship can help to take some of the angst out of it—and who among us, in our musical journeys, doesn't need a little help along the way!

- Anne Timberlake, ARS Board Member

Time to Renew Your SRS Membership!

Our 2016-2017 membership year has begun with a full schedule of meetings and events that is not to be missed! Please take this time to renew your membership, which is still $40. Refreshments Membership applications are available online at the Seattle (November) Recorder Society website: www.seattle-recorder.org/home.html

where you can also choose to pay by credit card. If you prefer to handle your Cookies payment by post, just mail your application to our treasurer, Richard Ginnis, Michael Bancroft at 4554 - 4th Avenue NE, Seattle, WA 98105.

Fruits (none) ! Thank you!

Veggies (none) !

As you can see, we’re a little short on volunteers to bring goodies in November. If you would like something other than hot drinks after our playing session, please contact Molly Warner to tell her what you can bring. (206-523-5192 or ([email protected])

Recorder players in the main room at October’s meeting. Thank you! Photo by Bill Stickney

Save the Date: ENRP seeks RB, Play-the-Recorder Month Celebration temporarily

What: “Play-the-Recorder Month” Concert & Celebration (Enthusiastic New Renaissance Player Date: Sunday, March 5, 2017 seeks Renaissance Bass)

Time: 3 pm – 4 pm Do you know of Contact: Nancy Gorbman (206-852-4762 or [email protected]) a lonely Renaissance bass sitting idle in a closet Event Description: Join us for a lively concert of various recorder somewhere? Here's an ensembles—including music of the Renaissance, Baroque, and 20-21st opportunity for it to get some centuries. A “Play-In” of a new composition entitled “Waltz” composed by TLC and playing time for about James Beaudoir, written especially for the American Recorder Society “Play- a year while an enthusiastic the-Recorder Day” will begin the program (for intermediate level recorder player waits impatiently for players and up)! Fun for all ages. An activities circle for young children near her own instrument to the stage will have crafts, puzzles, and a chance to explore instruments of arrive. Contact Laura Faber varying sizes. Free drawing for plastic recorders at the end of the concert! (206) 619-0671 or [email protected] Character references available upon request! Newsletter Deadline for December Issue Monday, November 14th 1

Meeting Notes: October 7, 2016 SRS Players on Stage! (Kathleen Arends; photo by Bill Stickney)

SRS President Mike Woolf opened our meeting. Our ARS representative, Nancy Gorbman, asked us to mark our calendars for the first Come hear members of SRS Sunday in March, when we'll have an activity for Play-the-Recorder Month. (Hanan Bell, Sabine,

Endigrigkeit, Ellen Seibert, Flûtes en Bois (“Flutes of Carolyn Wallace, Molly Warner, Wood”) gave us a delightful opening and Nancy Wright) program of Bach, Tallis, and Stravinsky. performing with the Besides director Janet See, there were New Baroque Orchestra (NBO). flautists Charles “Coop” Cooper (who The fall concert does a lot of arranging pieces so that is coming up soon. this group can play them), Liz Hunter,

Sarah Pyle, Miguel Rode, Marty Ronish, and Molly Warner. Lee Inman played * * * viola da gamba, and Mary Ann Hagan played harpsichord. Sunday, November 13, 3 pm

There was a tenor aria from Stravinsky's Pulcinella, in a faithful Trinity Parish Church arrangement by Coop for Baroque flutes with harpsichord and viola da gamba. It began with just melody and bass lines and an articulated drone, 609 – 8th Avenue, Seattle then broke into less predictable harmony, all of which made Stravinsky sound oddly suited to Baroque flutes.

They also played Coop's arrangement of Thomas Tallis' peaceful “The Town Lay Hushed.” It was interesting to hear it without the stamp Vaughan Williams gave it in his “Fantasia on a Theme by Thomas Tallis.” 2016-2017 SRS Meetings And their three beautiful Bach selections, also mediated by Coop, were a chorale (which, like so much Bach, sounded deceptively simple); Meetings are usually (but not the “Largo” from the Concerto III for Two Violins, in which sweet melodies always) held on the first Friday embraced and played with one another; and a lively aria about listening of each month, September to to the gentle flute choir. Thanks to Janet See and Flûtes en Bois, and May, at 7:30 p.m., Maple Leaf especially to Molly Warner, who arranged for this appearance, brought Lutheran Church, 10005 - 32nd her harpsichord to the church basement, created and provided the printed NE, Seattle. Meetings include a program, and performed! short performance or lecture of interest to recorder and viol As Chanticleer were in town to sing their water-inspired concert, players, ensemble playing for all Vicki chose water-inspired music for musicians in the “big room” to enjoy levels of recorder players, and a playing. We began with “La Gondoletta,” a light-hearted little Venetian folk beginning recorder ensemble. tune arranged by Irmhild Beutler. Overall it was pretty simple; but the A $5.00 donation is requested sopranino part, played by Cathy Lacefield and Doug Sprugel, sparkled and for non-members. made the whole piece more fun. September 16, 2016 Then we played Frances Blaker's “In Sight of the Ocean.” Written in October 7, 2016 honor of Corlu Collier, director of the Oregon Coast Recorder Society (and November 4, 2016 Frances' first recorder teacher), it begins with the time-honored chaconne December 2, 2016 technique of a six-measure bass figure which is repeated throughout. Voices January 6, 2017 layer in, higher and higher over the mesmerizing bass pattern, creating calm February 10, 2017 but with surging power beneath. In the second half, the simple quarter and March 3, 2017 half notes begin to give way to eighths; the movement goes from one voice to April 7, 2017 another with increasing insistence, and builds to a somber climax. May 12, 2017

(continued below)

Meeting Notes: (continued)

And we ended the evening with a Phil Neuman transcription of a SRS Board Members Latin piece, “Wave,” by Carlos Jobim. With unfamiliarly syncopated, written- (2016/2017) out bossa rhythms, and accidentals featuring plenty of A-sharps and D-sharps, we found it challenging. But Vicki clarified one spot at a time, Music Director: and eventually I was amazed to hear the music come into focus. Vicki Boeckman (206-985-9916) [email protected] Thanks to Vicki for getting this music together for us, and for getting Music Director Emeritus: us through it! Peter Seibert (206-329-2774) [email protected]

Officers:

President: Mike Woolf Meeting Notes from the Backroom Gang (206-300-6623) [email protected] October 7, 2016 President-Elect: Molly Warner (Christy Johnson, Backroom Reporter) (206-523-5192) [email protected]

While the large group of recorder players in the main room enjoyed Past President: Hanan Bell pieces with water themes, three players met down the hall—the Backroom (206-695-2276) [email protected] Gang, led by Miyo Aoki. We played music which was accessible yet Secretary: Kathleen Arends challenging, a great pleasure indeed. (425-649-9869) [email protected]

First was a fanfare by French composer Nicolas Chedeville (1705- Treasurer: Richard Ginnis 1782), a short piece in 4/4 time arranged for two parts. We worked sections (206-633-1969) [email protected] under tempo until we were comfortable, and then put it together. Miyo had good tips for us such as looking for “leaps” and fingering them with the recorder down. * * * *

The second piece was an anonymous work in 3/4 time titled Membership: Betty Swift “Anglaise.” We worked in sections, writing in breath marks. Miyo showed (206-323-3879) [email protected] us a way to deal with unfamiliar clefs: Create a couple of anchor points on the staff, and become familiar with them. From there it is possible to Newsletter: Karen Berliner (206-550-3384) recognize intervals and find nearby notes. [email protected]

Then came the hauntingly beautiful “Belle qui tiens ma vie,” music of Refreshments: Molly Warner the French Renaissance by Thoinot Arbeau (1519-1595). With three players (206-523-5192) [email protected] and four parts Miyo expertly filled in missing harmonies, at the same time playing the melody! She helped with an E flat on my bass and explained that Webmaster: Charles Coldwell the third of the chord should be played slightly lower in pitch in the (206-328-8238) Renaissance tradition. While discussing intonation she had a suggestion for [email protected]

the high G on the tenor recorder. If the G is high, the pitch can be lowered by Members-At-Large: decreasing air pressure, and at the same time raising the tongue. In this way the note won't break to the octave down when the pitch is lowered by breath Ellis Hillinger alone. It works! (206-547-0718) [email protected]

Carolyn Wallace (206-782-6898) Our final piece was a 15th century medieval folksong, “Pase el Agoa.” [email protected] Miyo encouraged us to think in two as we played this wonderful piece with its delightful hemiolas. In keeping with the water theme, here is the text of “Recorder Notes” is published monthly, September through May, for its members “Pase el Agoa”: “Come to me across the water, my Lady Juliet. I will go into by the Seattle Recorder Society. the forest, there to pluck three roses.” 4554 - 4th Ave NE, Seattle, WA 98105. $40 Annual Membership Dues. Miyo will be back again in December, and for the rest of the 2016- www.seattle-recorder.org 2017 season to lead the Backroom Gang. (Laura Faber will be leading the Backroom Gang in November.) 1

Concerts and Events Calendar

Fri., Nov. 4 @ 7:30 pm: Seattle Recorder Society Meeting. Maple Leaf Lutheran Church.

N Sat., Nov. 5 @ 8 pm: Pacific Musicworks presents: “Breathtaking – A Voice and Cornetto Intertwined.” O Bruce Dickey, cornetto; Hana Blažíková, soprano. St. James Cathedral, 804 9th Ave, Seattle. www.pacificmusicworks.org V Sun., Nov. 6 @ 3 pm: Early Music Guild presents: “Sine Nomine Fall Concert.” Anne Lynman, E conductor/director. TPC. EMG M Sat., Nov. 12 @ 2 pm: Moss Bay Recorder Society Meeting. Miyo Aoki, conductor. Shoreline Library, B 345 NE 175th St, Shoreline. www.mossbayrecorders.org

E Sat., Nov. 12 @ 7:30 pm and Sun., Nov. 13 @ 2:30 pm: Early Music Guild presents: “Sequentia: The R Monk Sings the Pagan.” Nordstrom Recital Hall, Benaroya Hall, Seattle. EMG

– Sun., Nov. 13 @ 3 pm: Early Music Guild presents: “New Baroque Orchestra Fall Concert.” Christine Wilkinson Beckman, conductor. Music of Babell, Biber, and Telemann. TPC. EMG 2

0 Sun., Nov. 13 @ 5 pm: Epiphany Music Guild presents: “Epiphany Schola: Purcell and His Contemporaries.” The Chapel at Epiphany Parish, 1805 38th Ave, Seattle. www.epiphanymusicguild.org 1 6 Sat., Nov. 26 @ 7:30 pm: Byrd Ensemble presents: “Christmas at the Sistine Chapel.” St. Mark’s Episcopal Cathedral, 10th Ave E, Seattle. www.byrdensemble.com

Sun., Nov. 27 @ 3 pm: Byrd Ensemble presents: “Christmas at the Sistine Chapel.” TPC. www.byrdensemble.com

Tues., Nov. 29 @ 7 pm: Early Music Underground presents: “In Mary’s Arms.” Rarely-heard motets and cantatas for voice, strings, and organ by 17th century women composers. Naked City Brewery & Taphouse, 8564 Greenwood Ave N, Seattle. www.emuseattle.com

Fri., Dec. 2 @ 7:30: Seattle Recorder Society Meeting. Maple Leaf Lutheran Church.

D Sat., Dec. 3 @ 8 pm: Medieval Women’s Choir presents: “Winter Feasts.” St. James Cathedral, 804 9th Ave, Seattle. www.medievalwomenschoir.org E C Sat., Dec. 3 @ 7:30 and Sun., Dec. 4 @ 3 pm: Gallery Concerts presents: “Bach and Beethoven.” Nathan Whittaker, violoncello; Tamara Friedman, Baroque Lautenwerck and copy of 1814 Johann Fritz Viennese - fortepiano. Queen Anne Christian Church, 1316 3rd Ave W, Seattle. www.galleryconcerts.org

2 Sun., Dec. 4 @ 7:30 pm: Early Music Underground presents: “In Mary’s Arms.” Rarely-heard motets 0 and cantatas for voice, strings, and organ by 17th century women composers. Northwest Cellars, 11909 124th Ave NE, Kirkland. www.emuseattle.com 1 Fri., Dec 9 @ 7:30 pm: Pacific Musicworks presents: “¡navidad! – Christmas Music from New and Old 6 Spain.” Experience a rich tapestry of works from Mexico, Guatemala, Brazil, Bolivia, and Spain in this unique holiday program. Edmonds Methodist Church, 828 Caspers St, Edmonds. (See other dates and locations below.) www.pacificmusicworks.org (continued below)

EMG (Early Music Guild, 206-325-7066) www.earlymusicguild.org TPC (Trinity Parish Church, 609 – 8th Avenue, Seattle) www.trinityseattle.org TH (Town Hall, 1119 – 8th Avenue, Seattle) www.townhallseattle.org All events are subject to change. 2

Concerts and Events Calendar (continued)

Sat., Dec. 10 @ 2 pm: Moss Bay Recorder Society Meeting. Kirkland Library, 308 Kirkland Ave, Kirkland. www.mossbayrecorders.org D

E Sat., Dec. 10 @ 7:30 pm: Pacific Musicworks presents: “¡navidad! – Christmas Music from New and Old Spain.” Experience a rich tapestry of works from Mexico, Guatemala, Brazil, Bolivia, and Spain in this C unique holiday program. Emmanuel Episcopal Church, 4400 86th Ave SE, Mercer Island. www.pacificmusicworks.org E

M Sun., Dec. 11 @ 2 pm: Pacific Musicworks presents: “¡navidad! – Christmas Music from New and Old Spain.” Experience a rich tapestry of works from Mexico, Guatemala, Brazil, Bolivia, and Spain in this B unique holiday program. Nordstrom Recital Hall, Benaroya Hall, Seattle. www.pacificmusicworks.org

E Sun., Dec. 11 @ 3 pm: Recorder Orchestra of Puget Sound (ROPS) presents their fall concert. Music of R Byrd, Tchaikovsky, and Brian Monroe. Guest artist Peggy Monroe on percussion. Main sanctuary of Maple Leaf Lutheran Church. www.seattle-recorder.org - Wed., Dec. 14 @ 7:30 pm: Early Music Guild presents: “J.S. Bach’s Christmas Magnificat.” Alexander 2 Weimann leads the Northwest Baroque Masterworks ensemble of five internationally renowned soloists, 0 a full baroque orchestra, 3 trumpets, and timpani in a performance of the original version of J.S. Bach’s Magnificat. TH. EMG 1 Fri., Dec. 16 @ 7:30 pm: Early Music Guild presents: “J.S. Bach’s Christmas Magnificat.” Alexander 6 Weimann leads the Northwest Baroque Masterworks ensemble in a performance of the original version of J.S. Bach’s Magnificat. Bastyr University Chapel, 14500 Juanita Dr NE, Kenmore. EMG

Fri., Dec. 16 @ 7:30 pm: Cappella Romana presents: “A Byzantine Christmas.” Boston-based Psaltikon performs Byzantine chant and traditional Greek carols. St. Demetrios Greek Orthodox Church, 2100 Boyer Ave E, Seattle. www.cappellaromana.org

Thurs., Dec. 29 @ 7 pm: Byron Schenkman and Friends present: “Bach and Corelli.” Ingrid Matthews, violin; Byron Schenkman, harpsichord. Nordstrom Recital Hall, Benaroya Hall, Seattle. www.byronschenkman.com

Upcoming Workshops

April, 2017 (exact date TBD): SRS will host a half-day recorder event with Matthias Maute. More information to come soon.

May 5-8, 2017: Winds and Waves Recorder Workshop. (Faculty concert on May 5, classes May 6-8.) Otis, Oregon. Registration begins January 17th. www.sitkacenter.org

July 9-15, 2017: Port Townsend Early Music Workshop. Tacoma, Washington. Registration begins in 2017. www.seattle-recorder.org